Entertainment Weekly's Scores

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For 7,797 reviews, this publication has graded:
  • 68% higher than the average critic
  • 2% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 2 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 13th
Lowest review score: 0 Wide Awake
Score distribution:
  1. Positive: 4,958 out of 7797
  2. Mixed: 2,079 out of 7797
  3. Negative: 760 out of 7797
7797 movie reviews
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  1. The Amityville Horror
    Extraordinarily faithful to the spirit of that creaky, derivative, fly-infested, don't-go-in-the-attic boofest.
  2. House of D
    An overly picaresque first feature written and directed by David Duchovny, who also co-stars.
  3. Madison
    Director and co-writer William Bindley engages every move in the underdog playbook, including, but not limited to, the time the good citizens of Bedford Falls chipped in to make up George Bailey's shortfall in "It's a Wonderful Life."
  4. Monster-in-Law
    As for Monster-in-Law, it's tripe on a plate.
  5. My Mother
    Ma Mère, while less prudish than Catherine Breillat's dour deconstructions of sex, is also less competent. It winds up making incest look absurdly swank.
  6. Modigliani
    The lushness of a Modigliani is largely absent from Modigliani.
  7. The Honeymooners
    Epps has a nicely beaten charm to him -- among the leads, he alone looks like he knows what a trip to the moon costs.
  8. High Tension
    The latest reshuffling of "Chainsaw" tropes.
  9. The Adventures of Sharkboy and Lavagirl 3-D
    Like choral singing and travel photography, this adventure is more fun for participants than it is for spectators.
  10. Land of the Dead
    In Land of the Dead there are virtually no good parts. The movie is listless and uninspired.
  11. Must Love Dogs
    This is a movie of fake conflict, fake heart, even fake doggy love.
  12. Stealth
    Stealth, a dregs-of-summer knockoff, is too ponderous and inept to serve a comparable function now, yet the film's lack of thrust may be related to an absence of conviction about its own war-is-a-videogame clichés.
    • 63 Metascore
    • 42 Critic Score
    Reel Paradise
    Pierson, with his carrot-thin frame, gogglish specs, and gnashingly quick temper, traipses around Taveuni like the king of the white-man geeks, alternately proclaiming the saintliness of his crusade and throwing tantrums whenever somebody else fails to sufficiently recognize it.
  14. The Cave
    Sci-fi horror aficionados, however, might want to look elsewhere for their scares, as they're unlikely to find any here. Fright-wise, The Cave is a dry hole.
    • 55 Metascore
    • 42 Critic Score
    The Greatest Game Ever Played
    An inert family golf movie.
  16. The Prize Winner of Defiance, Ohio
    Anderson's adaptation is heavy on production numbers in which jingles come to life and light on conveying any real feelings of Eisenhower-era darkness the prizewinner herself might have felt during her decades of marriage to an abusive, drunken man.
    • 30 Metascore
    • 42 Critic Score
    Waiting...
    With its sweet stupidity and shoddy production values, Waiting... knowingly evokes bad '80s R-rated comedies, but the differences are telling.
    • 66 Metascore
    • 42 Critic Score
    Three... Extremes
    Another pulpy Creepshow movie would be more welcome than a second installment of this stiff stuff.
  19. Derailed
    A junky thriller that mistakes brute-strength plot twist, showy violence, and the against-type participation of Jennifer Aniston for earned excitement.
  20. Breakfast on Pluto
    Jordan lets slip virtually every rudiment of drama. He never deigns to develop his characters, he coats the movie in a wet blanket of whimsy, and he lets pop songs do his work for him more lavishly than Cameron Crowe did in "Elizabethtown."
  21. Kill the Poor
    As an overwrought, overacted drama, Kill the Poor is negligible.
  22. Looking for Comedy in the Muslim World
    The movie isn't racist; it's just lame. If Brooks truly cared about Muslims or how their funny bones worked, Looking for Comedy might have had some zing, but all his character is interested in is the 500-page report he has to deliver - a homework assignment from hell.
  23. Lonesome Jim
    Buscemi is stymied here by the inertia of his material.
  24. Larry the Cable Guy: Health Inspector
    As an expat redneck, I recognize the deep, dumb need of every group for its own culturally customized minstrel show. Larry, a junker ''star'' vehicle run on arse wind and fan love, fills that niche.
    • 49 Metascore
    • 42 Critic Score
    The Sentinel
    Looking back, 1993 was a golden age for thriller cinema. That was the year Hollywood hatched both "In the Line of Fire" and "The Fugitive," the two obvious and way superior antecedents for the very humdrum B-movie mash-up The Sentinel.
  26. RV
    As Williams ricochets between playing submissive soft-drink executive tethered to the whims of a hysterical boss and pathetic dad at the wheel, trying to cajole his family into vacation satisfaction, we can be excused for getting carsick.
  27. Keeping Up with the Steins
    Garry Marshall takes over the movie (no mystery: his son, Scott, directed it), and Keeping Up With the Steins turns into a recipe to forget: chopped liver with ''heart.''
  28. The Omen
    There's one moment that achieves the camp shiver of the original, when Damien's nanny hangs herself at his birthday party (''Damien, it's all for you!'').
  29. Garfield: A Tail of Two Kitties
    In the ''flesh,'' Garfield himself (voiced by Bill Murray) is once again strikingly unlikable, a bloated, bingeing fascist.
  30. The Lake House
    The only real magic in The Lake House is that Kate and Alex have never heard of e-mail.
  31. A Scanner Darkly
    In A Scanner Darkly, we're watching other people freak out, but the film is maddening to sit through because their freak-outs never become ours.
  32. My Super Ex-Girlfriend
    It's "Bewitched" meets "Fatal Attraction," with one funny bedroom scene, but it was a miscalculation to make Thurman the antagonist.
  33. 13 Tzameti
    French art thriller 13 Tzameti has a literal hair-trigger premise, yet it's so lacking in human dimensions that it creates virtually no suspense.
  34. Pulse
    In this American remake of the spooky, more-atmospheric-than-coherent 2005 J-horror thriller, the ghosts blink and crackle into existence with an electromagnetic sputter, but really, they're not so different from the gauzy, see-through spirits of yesteryear.
  35. Trust the Man
    Can these banal relationships between undifferentiated lovelies be saved?
    • 30 Metascore
    • 42 Critic Score
    Crossover
    Crossover skimps on court-level pyrotechnics (we get a game in the beginning and, of course, a big game at the end, and that's about it) in favor of dry urban melodrama.
  37. All the King's Men
    Writer-director Steven Zaillian's version stultifies, especially when compared with Robert Rossen's fiery 1949 Oscar winner. How could such dullness defeat the retelling, when Willie Stark is one of the most vivid characters in 20th-century American popular culture?
    • 47 Metascore
    • 42 Critic Score
    Flyboys
    This is a lost opportunity on an epic scale. The actors are so styled and the dogfights so drippy with CG that, as a period piece, the movie almost looks like it's set in the future.
  39. Man of the Year
    Williams turns out to be exactly the wrong candidate for the job, a comedian singularly uninterested in letting anyone else get a word in, but with nothing to say.
    • 56 Metascore
    • 42 Critic Score
    Driving Lessons
    Linney is too sensitive and capable an actress to play a stock villain like this. That everyone in the movie dislikes her makes you dislike everyone in the movie.
  41. A Good Year
    Nothing more than a bad harvest.
    • 38 Metascore
    • 42 Critic Score
    The Return
    Mellow -- nay, snoozy -- atmospherics trump actual scares, and it makes almost zero sense.
  43. Deck the Halls
    In this year's lump of coal, Matthew Broderick is the control freak who lives for toasty yuletide cheer, and Danny DeVito is the vulgar pest who wants his holiday lights seen from space. The dueling-neighbor crankfest is blah.
  44. The Nativity Story
    The Nativity Story is a film of tame picture-book sincerity, but that's not the same thing as devotion. The movie is too tepid to feel, or see, the light.
  45. The Architect
    Every character in The Architect is crazily stuccoed with crisis.
  46. Turistas
    The movie, with the exception of that lone squirmy surgery scene, is "Hostel" without sadism, thrills, or funky severed-limb F/X. It quickly turns into a very dull escape thriller.
    • 38 Metascore
    • 42 Critic Score
    Eragon
    Though the movie, which was adapted from a book written by Christopher Paolini when he was a teenager, aims high by ripping off the classics (even down to Eragon’s murdered uncle), what it most recalls are the cheesy lost sword-and-sorcery epics from the '80s, awful movies in the vein of "Yor: The Hunter From the Future" and "The Blade Master."
  48. The Hitcher
    A remake of the 1986 suspense ''classic,'' is as processed and hoot-worthy as the original.
  49. Catch and Release
    I just don't know any chick who will make sense of this flick -- it's that blitheringly out of touch with present psychosexual (never mind feminist) time and space.
  50. Ghost Rider
    So much flatter than it was on the comic-book page.
  51. Gray Matters
    Graham makes the coming-out dithering bearable, but not before she has jumped through hoops of contrivance.
  52. Wild Hogs
    Nothing about this sputtering midlife-crisis family comedy is natural except the timeless notion that even the most latte-tamed baby boomer has the power to reclaim his inner Iron John. Ray Liotta provides the one true blast of comedic energy as the leader of a real, more pugnacious head-butting gang who tangles with the four amigos.
  53. Black Snake Moan
    Be prepared to collapse into a hoot and a howl of hilarity at all the wrong moments.
  54. Premonition
    One piece of advice in trying to make sense of it all: Follow the sleepwear, since Bullock cycles through a few garments that clarify which day is which. Another suggestion? Ignore the two-bit psychological and spiritual doggerel with which screenwriter Bill Kelly tries to deepen the meaning of the game.
  55. Shooter
    The ultimate crime of this paranoid enemy-of-the-state pulp, directed with more style than brains by Antoine Fuqua (Training Day), is how dull it is.
    • 43 Metascore
    • 42 Critic Score
    Firehouse Dog
    The terrier Rexxx might be the least appealing mutt ever to slobber on screen.
  57. Pathfinder
    Pathfinder's moody, muddy look is courtesy of music-video director Marcus Nispel, who doesn't distinguish between people and tree trunks when it comes to emotional content.
  58. Even Money
    An overstructured, overacted indie drama about gambling, addiction, and the sawdusty romanticism of old-time magicians.
  59. You're Gonna Miss Me
    Has the taint of exploitation.
  60. Fantastic Four: Rise of the Silver Surfer
    The dialogue aims young and low, and sounds translated from comic-book Esperanto.
  61. Eagle vs Shark
    It's a tale that reduces angst, not to mention love, to a generational tic.
  62. License to Wed
    The creepy-faced robot twin babies are funny (for a while); the rest of the film is not. It's like "Meet the Parents" with Dr. Phil as the officiant from hell.
  63. I Now Pronounce You Chuck & Larry
    Myself, I felt victimized by the stereotype shtick of reliably grating Rob Schneider as a Canadian-Japanese wedding-chapel minister from SNL castoff hell. But maybe that's just because this movie encourages sensitivity by hitting everyone over the head with its humor hammer.
    • 21 Metascore
    • 42 Critic Score
    Bratz
    A movie based on a doll line, is an M&M-colored high school fantasia for aspirational 10- and 12-year-old girls who'll be shocked (or, hopefully, delighted) when they get to ninth grade and find out life isn't so super-Bratz-fabulous.
  65. The Nanny Diaries
    For a light comedy, The Nanny Diaries turns out to have an off-putting theme. It glorifies the romance of slumming.
    • 55 Metascore
    • 42 Critic Score
    Romance & Cigarettes
    With Walken around, hair up high, of course there are fleeting moments of fascinating weirdness, but even then, you're still moderately embarrassed for the cast.
  67. Across the Universe
    Goofy, pompous, annoyingly boomer-myopic Fab Four musical.
  68. Silk
    Wan, generically pretty adaptation of Alessandro Baricco's 1996 novel.
  69. Resident Evil: Extinction
    The title gives one hope.
  70. The Kingdom
    So shameless is The Kingdom, ignoring consequence and treating its audience like cash-dispensing machines with buttons to be pushed rather than thinking individuals willing to consider the reality of America's entanglement with the Middle East.
    • 38 Metascore
    • 42 Critic Score
    The Seeker: The Dark Is Rising
    A movie that should've been made shortly after its source material -- Susan Cooper's Newbery winner -- debuted in 1973. As is, it feels entirely too generic to work today.
    • 25 Metascore
    • 42 Critic Score
    Revolver
    The movie butts up against the director's newfound pretensions -- pseudo-philosophical voice-over, psychobabble, faux-art-film plotting -- and turns incomprehensible.
  73. The Water Horse
    Parents can trust that none of their wee ones will ask for a stuffed water horse for Christmas. The star of this Scottish fable, about the mythical Loch Ness monster, looks like a raw chicken breast with teeth when he hatches.
  74. Over Her Dead Body
    Rudd's talents as a thinking woman's charmer are wasted -- as are those of amiable Jason Biggs in a weak variation on the pop theme of being a gal's gay best friend.
  75. Semi-Pro
    The big goofball relies too much on the funny hair and swingin' postures of the era as punchlines in themselves.
  76. Shutter
    Seems like a technological regression.
  77. Superhero Movie
    Seems to have been given the comedy equivalent of blood thinner. It has the blazing satirical boldness to skewer the first Tobey Maguire Spider-Man -- and, amazingly, not much else.
  78. The Ruins
    The Ruins is lumpish, static, and obvious. It's a gringos-go-home cautionary fright flick done in the spirit of a cheap '50s horror movie, except that it leaves you longing for the competence of grade-Z studio-system trash.
    • 49 Metascore
    • 42 Critic Score
    Dark Matter
    Liu Ye is too inexpressive for his role's demands, and the movie doesn't build to his downfall: It just zaps itself there.
  80. Where in the World Is Osama Bin Laden?
    A primer no one needed, Where in the World Is Osama bin Laden? should have been called "The Post-9/11 World for Dummies."
  81. Turn the River
    An only-in-the-movies mother hustles pool to raise the money to abduct the son she's been forbidden to see since her divorce.
    • 47 Metascore
    • 42 Critic Score
    Before the Rains
    This period piece is exactly what you'd expect from a Merchant Ivory production: a tragic tale of love set against a backdrop of opulent scenery.
  83. Miss Conception
    Graham is charming, but Miss Conception is a cloddish biological-clock bedroom farce.
  84. Australia
    Long before the second hour of Australia (which feels like the fifth), it's clear that Luhrmann hasn't found a satisfactory way to make a movie nearly as ballsy -- or coherent -- as he wants his creation to be.
  85. The Rocker
    The only brazen thing about the film is how shamelessly it rips off "School of Rock."
  86. College
    Friendly yet toothless, College musters little energy even as anarchic-party-movie nostalgia.
    • 47 Metascore
    • 42 Critic Score
    Lakeview Terrace
    Jackson is the best thing here.
  88. Eagle Eye
    A brain-squandering thriller.
  89. Miracle at St. Anna
    Miracle isn't powerful, it's muddled and diffuse.
  90. Nights in Rodanthe
    Lane and Gere mime adult courtship with the efficiency of synchronized swimmers. Yet in this ocean of emotion, they look like they're drowning.
    • 20 Metascore
    • 42 Critic Score
    Saw V
    The production values have become so horror-movie shoddy that Saw V has more in common with kitsch like "Friday the 13th Part V" than the original "Saw."
  92. The Haunting of Molly Hartley
    The story's a snooze, so the filmmakers punch it up with smash cuts and thunderclaps that turn the most laughably banal items -- birds, mail, an alarm clock -- into cheap jack-in-the-box shocks.
  93. Zack and Miri Make a Porno
    A Smith production is always noisy, shambling, and liberally smutty on the outside while conservatively gooey on the inside.
  94. Lake City
    The story is as impersonal as it is labored.
  95. The Day the Earth Stood Still
    The original Day the Earth Stood Still had a paranoid poetry that lifted the audience up even as it warned the world to come together. This one is so dour it just comes off as a scolding.
  96. Hotel for Dogs
    There are still cuddly pups and piddle jokes aplenty.
  97. The Haunting in Connecticut
    Smart enough to put much of its weight on Gallner, a lively presence with a terrifically sour mug that makes him look like a mutual cousin of Willem Dafoe and Peter Lorre.
  98. 17 Again
    The result is a slack do-over fantasy in which Zac Efron, as a basketball star, looks baffled as to why he hasn't been asked to sing and dance.
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